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JasonWanderer last won the day on March 4

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About JasonWanderer

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  1. They don't call him Conjob for no reason! You're absolutely spot on; John was never the traditional magician. At least not in the sense that he'd shoot spells from his palms (well, until he did...). What made Constantine stand out isn't that he was proficient in magic or had any capabilities; he was just some guy that picked up on occult knowledge and went forward with it. Even more, the one thing that is special about John is his demon blood and that was used frequently as a negative power. It seemed like an outright reversal of the normal superhero idea where a character gets t
  2. I'm pretty sure you're right, and Delano had him switching up coats. Not to mention that he doesn't even wear his coat as much in that era; he was in a suit jacket quite a lot if I remember correctly. Considering the way that the backstory was pushed on it (continuity aside), I do wonder what exactly the intention was. There's a lot to say about Milligan's Hellblazer, but the main thing is that it really does feel like it was meant to be a superhero book with a guy that wasn't super. Even the young, daring side female reminds me of something like...Indiana Jones or Bond or hell even Ba
  3. Good points all around, and since you brought it up I may as well ask this: Did I miss something in the Devil's Trenchcoat or does it assume that John's coat is the same one he's always had? I was just reading Confession of an Irish Rebel and he makes a point of going to buy a new one. Plus there's points like in the Carey run where he doesn't seem to pick up his old clothes. Am I just misremembering the point of the story or is it just a slight continuity era?
  4. You make a good point about how an archetype characterization just allows for an all-around easier time re-creating the series of character later on. It's a shame though, in terms of Hellblazer. Constantine has so many different sides to him yet it always seems like the "bastard" aspect becomes the "badass" one. Even though without all the other pieces, him being a bastard is just...well, him being a bastard. Not a complicated, conflicted individual. Just some guy who's a real prick. Which is not the way his fundamental character seemed to be. You've got a point on the
  5. At the end of Issue 109 (the Wild Hunt plot), in Voices from Beyond there's a letter stating that "In the Line of Fire" was strange because John would never care about some old woman and a ghost in a house. Ironically, having just read "In the Line of Fire," I thought the exact opposite: that John going into this old place, feeling something for this lady is very Constantine. He's not a superhero, and that leads him to do some bad things, but I always thought its also what led him to do good things; to truly understand people. He's disconnected from society and through that he gains
  6. Ignoring the potential page count this would be... Delano: #1 - 2, #7 ("Ghosts in the Machine"), #27 ("Hold Me") Ennis: "Dangerous Habits" Part 1 or 5, #45 ("Dangerous Habits" - Epilogue), #50 ("Remarkable Lines"), #68 ("End of the Line"), #76 ("Confessions of an Irish Rebel"), "Rake at the Gates of Hell" Part 4, 5, or 6. Jenkins: #97 ("The Nature of the Beast"), #100 ("Sins of the Father"), #104 ("Difficult Beginnings" - Conclusion), #106 and #107 ("In the Line of Fire" - Parts 1 and 2), #120 ("Desperately Seeking Something"), #128 ("How to Play with Fire" - Part 4) Ellis:
  7. Haha, thanks. Honestly, I just didn't like my other options. Having it all be a dream/story would have been a cop-out and having it be some magical transport just goes against the essence of the work to me. "India" actually was pretty good, you're right. In fact those first few stories may not have been the best, but they weren't bad either. "The Devil's Trenchcoat" made me cringe, but not because of what it was, instead because of what I realized it could have been. The scenario is actually pretty interesting and could have been a great character piece. But it was what it was. "
  8. That last point is really telling. I guess what Hellblazer used to be associated with was no longer what was being looked for. Which really ties into how there really hasn't been anything quite like it in recent years. Plots have gotten more complex, and entertaining at the expence of seeing a bunch of guys talking about stuff in a pub. ------ I figured I'd wait to comment again until I finished Milligan's run. Firstly, as a whole, the run was a bit up and down. I didn't like it as much as Diggle's, but stories like "Scab" were better than what Mina had. Unfortunately, I
  9. Yeah. In fact, I'd say all of the Hellblazer writers are good at their trade. It's the series itself that isn't versatile (or rather not without sacrificing what makes it Hellblazer). Makes me wonder who would have worked better than writers like Mina or Azz. Neil Gaiman is probably the only person I could think of. Grant Morrison? Like you said though, it's almost impossible to go by prior works of the writer to judge their ability to writer for the series.
  10. I should stop just looking at cover art and actually examine the names. This isn't the first time I missed a guest writer! I'm sure Aaron probably thought to include a rather obscure character as a gesture of fan service without ever actually going back to check whether said character was even alive. But then, guess twenty years of continuity will cause things like this so I'll give him a pass. Who was the character Carey brought back? Oh! "Mortification of Flesh" was actually quite good. Constantine playing all sides is always fun, and it actually had a nice bit of thematic
  11. Figured I'd address both of these... What gets me the most about Mina's run is that it had all the works to be incredibly satisfying, and poignant. "Red Right Hand" amounted to absolutely nothing (though, I will say that Issue 225 has my favorite comic cover ever, of all time; why it's attached to that arc is beyond me). Even with only 13 issues, I feel like there was more that could have come out of those stories. Which leads me to my major gripe: it's starting to feel like Hellblazer has been sucked dry. I don't want to say it started with Carey's run because that would diminish the
  12. "R.S.V.P." is great for exactly the reason you stated; the finality. However, it does make continuing a bit jarring as whole. Starting off Mina's run, I felt like everything was a bit of a side story. Carey's end even hearkened back to Delano's beginning with John once again seeing the ghosts of his past within reality; it's a chilling full circle. As for Mina's run, I'm almost through "Red Right Hand" at the moment. It's been an interesting ride. Something is a bit off about it as a whole though. Nothing is particularly terrible, but it's all just muddled. Something that's irking
  13. He may not share the necessary characteristics to be considered as such in a literary sense, but I've always found Delano to be very comparable to Lovecraft; less-excessive or overt threats. Conversely there's Ennis who's a ton more explicit with everything. I think this carries over into the stories as well. Delano usually took the Lovecraft approach with the "antagonist" or evil being the primary focus as it usually revealed something about humanity, nature, society, etc., or allowed John to come to a conclusion. Ennis, on the other hand, and to my memory, never really used what Constant
  14. Would have probably worked better overall as some sort of special/PSA (even though the content of "Shoot" isn't that great for it, the base idea and the limitation of Hellblazer-esque aspect makes the concept work better as a non-regular issue). Would you mind elaborating on the Swamp Thing censorship? I had a similar situation. I heard about Hellblazer a while ago, but didn't think to read it until the show came out. Then it kind of fell to the wayside as I thought it followed the supernatural formula, but was surprised to find it to be incredibly unique. What made
  15. Most six-part stories feel like a bit much for me (which is odd as I much prefer longer arcs...just not in comics) Rake at the Gates of Hell is probably the only time it seemed to have all been paced well. Haunted just had a really great conclusion. The worst part of Ellis's run was the way it was forced to end. Sad that Ashes and Honey is the last Ellis arc. Not that it was bad, just that it wasn't well...an ending. Hey! Carey has a lot of great actually characterization in the situations he has. The only thing missing is the more individual, character driven issues, wh
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